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Tag Archives: Shreya Ghoshal

When I say Raghu Dixit, you all know whom I am talking about, inspite of his belonging from Non-Film music. Yes, everybody knows him because he has established his own independent identity. His famous Raghu Dixit Project gained worldwide popularity. He has recently won his first GIMA (Global Indian Music Awards) for Best Live Performer. After making huge fan following in the Indie world, he is all set to make everyone fell in love with his Bollywood tunes. He debuted as a film composer in a a Kannada film Psycho though his Bollywood debut was with YRF’s minor banner Y Films in Mujhse Fraaandship Karoge, directed by Nupur Asthana, who has again collaborated with Raghu in Bewakoofiyaan, now under the real YRF.

(Note: A single of Ayushmann Khurrana, O Heeriye released by YRF some months back, has been included in this soundtrack as a bonus track).

It’s a song written with high self esteem. Benny Dayal, who is like a king of club songs these days, though I won’t consider it as a club song, has sung with high energy and great enthusiasm. The pitch of the song is quite high and difficult to sing. But he has managed the whole song perfectly. It has 3 stanzas of same notes. Nagada that has been used in last two stanzas and not in the first one, adds some extra energy to the song. Not the same repetitive words but meaningful lyrics by Anvita. Although Aditi Singh Sharma has been mentioned as the singer, you won’t be able to listen her voice just because Benny’s vocals have fully captured the song. A Benny Dayal show!

Starts with Neeti’s music-less vocals which sounds beautiful and gives the feeling as if something amazing would be there in the song. And yes, this song is full of amazing-ness. The rockstar is the Flute. It has been played in an amusing way just as it has been played in the song You’re My love (Partner). It did give me a slight 90’s touch and to be precise, Rahmanian 90’s where songs like Humma Humma used to made. That line Har story ki main teri heroine hoon, har story ki main teri happy ending hoon is a game changer. Lyrically, it is the most attractive part in the song. Also, Neeti Mohan has sung it with her adorable adaa. Also, it is the tune of that very line which made me hear the 90’s sound and the same line which musically sounds fresh too. That’s some of the specialities of that line. Ayushmann is always good behind the mic. Thanks to Habib Faisal for writing the line which I ve mentioned. The line which made me, and hopefully you, sing along all the time after listening. #WelcomeSong

3. Bewakoofiyaan – Singer: Raghu Dixit; Lyrics: Anvita Dutt

This must be the most innovative title track ever! Although the starting notes resemble a bit with the line Khushnuma awaara sa, besabar bechara sa lamha tha of the song Lamha Yeh Jaayega Kahaan from Dil Dosti Etc but as it moves forward, it brings the much needed freshness to your ears. The rhythmic drums with steady Guitar strums makes it a nice foot-tapping track. But if you are still getting bored with this unusual sound, Raghu Dixit has a very unique thing for you all. That is, BewakooOOOfiyaan. His extra ooo‘s authenticates and justifies the title of the song and the film. It was truly unexpected but it surely satisfies its listeners. Listen to it for those OOO, a kind of vocal sound that was never heard before. (Note: It’s not a Yodling sound).

It was about to be a typical Rom-com song but Raghu Dixit seems to have firmly decided not to include any typicality of any genre or style and therefore has added and modified it too. The brighter Shreya Ghoshal sounded, the duller Mohit Chauhan’s vocals performed. It has catchy tunes that other songs lacked and also sounded as fresh as others. Not any applauding tune but the way the Guitar has been played, is really beautiful. Shreya’s vocals showed their immense brightness in the hook line Rumaani sa, rumaani si and that line is the best part in the song which has capability to get the listeners attracted, and made the song to be played on loop. Mohit Chauhan could have shown more enthusiasm. A track to love, for a limited time period.

5. Aye Jigida – Singer: Vishal Dadlani; Lyrics: Anvita Dutt

If it doesn’t suit in this fantastic soundtrack, it will surely look perfect in the film. The only situation-oriented track which offers nice instrumentation with Banjo supporting throughout the song faithfully. Choosing Vishal, if for the situation perspective, I would applaud, but if as for a commercial aspect, then Vishal’s vocals completely failed to yield the interest of the listeners. After listening to the above awesomeness, it would surely bore you after a certain time. Although it failed to do an impressive job in the soundtrack, I have complete faith in it that it will be liked by people while watching the movie. A one time listen track!

Ends abruptly, starts abruptly, and above all, it has been included abruptly in the soundtrack. It’s a Single released by YRF last year in September featuring Ayushmann. I hadn’t liked the song that time. So, ofcourse, I don’t like it today also. It’s a Punjabi pop ballad which has some annoying sounds of instruments specially Electric Guitar after the line Yeh Gal Tu Maan Vich Basaa. I liked Ayushmann’s vocals though. It was not a hit at the time when it was released. It wasn’t even noticed properly and that’s why they included it as a film track to popularize it. But they have to accept that the track has nothing in it to get popularity. It’s a below average composition. A disappointing effort after their gorgeous Paani Da Rang and beautiful Saadi Gali Aaja.

Bewakoofiyaanhas brought back Raghu Dixit to mainstream film music and Raghu Dixit has brought his own sound and introduced it decoratively to Bollywood.Gulcharrey is catchy and lyrically innovative, Anvita Dutt’s one of the best works. I select Khamakha as the best of the album as it has the power to make its listeners croon the tune all the time after listening to just once. Habib Faisal’s lyrics has a big role in that. Title track is highly innovative and its OOO is incredibly attractive and applauding. Rumaani Sa is a typical lovable foot tapping melody with a tinge of Raghu Dixit’s sound. Aye Jigida has to be the weakest track though it has been composed and written well but it is limited to the movie and not a soundtrack-friendly. The additional track, out of nowhere, has been added in the soundtrack just to make it reach to more listeners. But it’s a big let down. All I hope for next time is that Ayushmann and Rochak Kohli compose some fresh sounding melodies and not just the repeating stuffs.

Not much happy with what Shankar-Ehsaan-Loy did in One By Two, I somehow made myself excited for their next album. It’s a low budget horror flick that has Jimmy Shergill and Nushrat Barucha and directed by Rangini MMS director Pavan Kripalani. It’s quite strange and unlucky that the trio’s previous film One By Two faced lot of controversies and the music of the film released just some days before the movie’s release date. Now the same has happened with Darr @ The Mall as its music released quite lately as the movie’s release date is 21st February 2014. Besides the trio, there’s a song composed by Agnel Roman and Faizan Hussain, among them, the latter was also the music director of Ragini MMS. Being the background scorer of the film, Ranjit Barot has one theme track in the soundtrack.

It’s a typical horror film song having some weird haunting sounds that doesn’t sound weird now as we all know that the Hindi horror movie songs have same kind of sound which try their best to frighten you but always fail. Composition is very ordinary but not at all annoying. You can easily listen to it multiple times inspite of having a stodgy sound. The credit goes to the debutante Sharmishtha Chatterjee who has lend her voice in many famous ad jingles of Bharati Axa, Sunfeast Marie Light, Fem and also the title track of a currently running show Main Na Bhoolungi on Sony Entertainment Television. Her vocals have provided the right amount of haunt. The song has Piano and Violin arrangements which has been blended in a way to make it sound authentically horror. Although the composers have done a decent job, they could have worked more on the sound. Likable, just because of the dubtante Sharmishta’s singing.

When you have Shreya Ghoshal’s vocals rendering S-E-L’s tune in a small album, it’s an unexpected big treat for the listeners. Unsurprisingly, the song turns out to be very beautiful having a sweet and slow catchy tune and meaningful lyrics by Amitabh Bhattacharya. It seems that it has been sung by a female ghost and if that is the case, the ghost is quite lucky to get damn melodious vocals. The haunting gesture has been given by the trio using Xylophone sound and made melodious by using Matka in the interlude as well as in the antara. The hook tera reham is quite dull and could have been better. Except that, it’s a wonderful listen. S-E-L quite steadily are coming into the much required mood in the industry. Shreya Ghoshal, Xylophone and the line kirno mein dhal ke.. are the elements to listen for. #WelcomeSong

If you listen to the song, it sounds like a composition that must have been composed by the trio long back. It sounds like a pick from S-E-L’s bank of old compositions. Lyrics by Amitabh is not at all cool. Pinacolada is a Spanish name of a sweet, rum-based cocktail though after listening to the song, you won’t get high as this cocktail is vague and will have zero effect on you. It’s a below average composition as we don’t expect S-E-L to compose such ordinary tracks. Catchy but lack of freshness in composition and lyrics.

4. Darr Theme – Instrumental; Music: Ranjit Barot

Generally a theme track has been kept in the soundtrack, if it has a definite particular tune which is the soul of the movie. But here, the track has not a single tune that could go well with the listener. At the start, it sounds very ordinary but on moving further, it has some great haunting sounds that would surely give u nice experience listening at night when all the lights are off. But its real potential will be witnessed by the viewers after the movie gets released. A one time listen as it won’t haunt you after that!

Darr @ The Mall is a very short album with just three songs and a theme track. Nobody was expecting anything from its music but the two songs turned out quite well. The debutante Sharmishtha gave a promising signal with Chaahatein, and Tera Reham sounded beautiful in the voice of Shreya Ghoshal which is the best track of the album. Pinacolada though having Aditi Singh Sharma and Neeti Mohan behind the mic, failed to attract the listeners as it sounds too old and stale, musically as well as lyrically. The theme track by Ranjit Barot is a decent affair making the listeners enjoy atleast in the first attempt. Being a soundtrack of a small budget movie and with only 3 songs in the soundtrack, it has quite easily secured a decent place among all the big albums that released this month. After listening to a song like Tera Reham, I won’t expect S-E-L to sign such small albums that degrade their capability.

Its name is sounding like a typical Bollywood Rom-Com. Since it’s of Dharma Productions, so shall we assume it to be something like another Gori Tere Pyaar Mein? Well, we can’t because the production house which is currently the most promising and dedicated production house, Phantom Productions is producing it. It’s a production team of four excellent filmmakers who have promised to touch the unknown areas of Cinema. Also, a new fresh jodi of Siddharth and Parineeti will be seen for the first time. Dharma effect is there as their favorite composers Vishal-Shekhar has provided the soundtrack. After not-so-good performance last year, it’s their first album in this year to make everybody feel their effective presence.

It starts with lots of Dholaks, the most appropriate Indian wedding instrument. The horns are used very well. The starting phrase I like Dandia… is actually the most attractive part of the song and the lyrics are also written in a decent and interesting way. Sunidhi sounds as if she is the perfect choice for this. Yes, she really is. It is clearly known in both the antara. Mukhda starts nicely but seems to be ended in a hurry to reach the hook line. These type of songs should have everything as catchy as possible. That doesn’t seem to be present here. The antara is completely in different scale and the bridge connecting to the mukhda has also a weird sound. They have continuously changed the notes in the whole song which hasn’t sounded good. It has made the song little uninteresting, specially for a lame listener. Though the second antara featuring Benny Dayal, starts well but loses its charm in the end. The hook line is damn addictive but the whole song should have been like this. A very unplanned track.

Starts with 60s style drum beats, this song is a musical tribute to Shammi Kapoor. I can’t imagine anyone better that Benny Dayal rendering it beautifully. His vocals have given what the song required. The song required 60s style Indian Jazz music mixed with today’s Pop music which Vishal-Shekhar have done perfectly. They have made a track which has all the elements to be received crazily among youths without losing its Shammi Kapoor essence. Here also, the antara went a little away from the basic notes of the track but didn’t sound odd at all. That’s a well planned and good finishing touch. If the movie is a hit, this song will be the biggest hit of the album.

It starts with the signature Vishal-Shekhar style which sounds awesome. As Shreya starts, it gets to become more awesome and then just before the hook line, those plain vague beats spoil everything. Yes, I have only one problem with this track i.e its recording and arrangement. The tune is nice and full of fun and specially the hook line is damn addictive. AB has written interesting colorful lyrics which makes the song comfortable for lip sync. Vishal’s line which connects the song to the hook line, sounds incomplete and should have repeated twice with different words to make it sound better. Shreya and Vishal have sung this catchy song with full energy. The technical part is a let down, rest is pure energetic Nautanki.

The prelude that has been played using Harmonica sounds a bit similar to the tune of backing vocals done by Nikhil D’Souza in the song Love Me Thoda Aur from Yaariyan. But it’s just a matter of 2-3 seconds and then it’s a complete fresh song rendered beautifully by Shafqat Amanat Ali. Vishal-Shekhar introduces a new singer Nupur Pant who sounds very promising from his vocals. She enters in the antara. But the main thing is what happens before the antara. Harmonica leaves the stage just when the mukhda ends. Violin takes over and I am unable to describe in words, what happens after that. They played violin so beautifully in the interlude that it takes the song to another level. It actually changes the whole linearity of the song. Nupur enters with a beautiful line and Harmonica joins that line to the next line in a way that is indescribable. I don’t how they did this awesomeness. All I know that this bridge by Harmonica in the antara surely does something deep in the heart. As the antara ends, the song returns to the same level and Shafqat continues. Listen to the antara to get a Heaven-like feeling.

Quiet in the same way like Naina (Gori Tere Pyaar Mein), Violin is played here. Starts wonderfully churning out a tune which can please anybody. Chinmayi, when starts, sounds similar to Tulsi Kumar but returns to her original form later. Its sound is a bit similar to Shekhar’s non-film single Butterfly which also had Chinmayi as the female voice. Violin, being the leading instrument here, has captured the whole track with its amazing vibe aptly supported by Sitar at appropriate places. The percussion has a Titli-like sound but the rhythm is comparatively faster here. The arrangements are superb. Shekhar’s vocals sound so beautiful that it makes us think why this man doesn’t sing on a regular basis. After listening to it, I feel that Titli should have been sung by Shekhar only. A Peaceful Melody! #WelcomeSong

6. Ishq Bulaava – Singers: Sanam Puri, Shipra Goyal; Lyrics: Kumaar

Sanam Puri (Dhat Teri Ki fame) finally got a slow song to sing and he did an amazing work. He did the complete justification with this complex and unusual tune. It seems that Vishal-Shekhar has made this track for themselves only. It is so damn complex that one can not understand even after listening to 3-4 times. Tune continuously changes and to understand the beauty of every tune, one has to sit and listen with concentration. Every tune is catchy but when you combine them as one song, it’s not at all catchy. To like it, one has to give time to it. The backing vocals by Vishal is one of the best elements in the track. The newcomer Shipra Goyal’s voice has a bit 90’s texture or she may have knowingly delivered that way according to the need of the song. The only song written by Kumaar has cute lyrics which is easy to connect with. The arrangements are just amazing. Technically, Awesome! But Height of Complexity!

Hasee Toh Phasee seems to be a pure Dharma soundtrack which has a wedding song, a classy, a desi dance track, and two romantic tracks. Ishq Bulaava seems to be an exception here. Vishal-Shekhar had never composed such a track. It’s basically not for fans but for their own growth. It feels glad to hear that they tried something different and that also turned out so well. Two fast songs seemed to be work of hurry. They made those tracks without working and improvising it more. Shake It Like Shammi is a winner among dance songs. All three slow songs are gem. Manchala’s antara, Zehnaseeb’s mukhda, vocals & lyrics and Ishq Bulaava’s different complex sound. So, the three songs have a class which is pure and the other three mass appealing songs are not well planned, recorded, arranged and improvised. A quite Well Balanced Rom-Com Album!

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Welcome all the readers as I am now announcing the results of Musical Sameekshaa Awards 2013

Before declaring anything, I want to thank to all those who gave their precious time, visited the blog and gave votes. 124 people gave votes in just 2 days which is something much more than what I had expected.

As I had mentioned earlier that public voting has 50% weightage. The rest 50% will be decided by me through the performances.

So, without delaying, I am declaring the results of Technical Awards and Mainstream Awards based on the nominations. Two more segments Popular Awards and Special Awards will be declared directly today without any nomination.

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Honestly saying, I had no plan to review this album. The only thing which attracted me was an Arijit Singh song with a romantic name. With much knowing about the movie, one can assume it to be a movie with hardly any scope for music. The multi composers formula has been brought in its soundtrack. Let’s see whether these number composers would be able to sustain the soundtrack.

Sharib and Toshi has delivered a track sounding like a Bhatt melody though a lot different from that. I had assumed it to be a simple beautiful romantic track. To my surprise, it turned out to be a damn addictive melody which has been composed so intelligently. The basic melody has been churned out using Violin. Usually, Sharib-Toshi do not compose melodies like this. Arijit is ofcourse excellent. He makes the song more addictive. In the female version, there’s Shreya Ghoshal, who also sang beautifully. In Arijit’s version, percussions have been used more though in Shreya’s, the sound of percussions have been kept mild. Her vocals have been given more scope though in the male one, Arijit’s vocals are competed with the instruments. The main hero is the violin which is played enormously throughout the song. If you are in a romantic mood or you like romantic tracks, Do Not dare to miss this one! Highly recommended WELCOME track.

This one is composed by our very own Mika. He has definitely produced some amazing sounds and specially at the starting. I applaud him for that. The basic tune is nice and a bit catchy too. It is well supported by techno sounds. But the problem lies in the composition. The composition is a lack of creativity. He has just played with sounds and there’s no specific song like tune or rhythm. There also hasn’t any scope of singing. Just a mixture of some sound software.

It’s not a proper song but an annoying rap which keeps on repeating on a loop. The sounds are good but that’s it. Not a single line is there in the song for which you can say that “ya! that’s a tune!” The composer Remo didn’t show a single sign of creativity. He has made his composition very limited. It has stuck within a rap and has nothing else to attract any listener. The lyrics just decrease the tolerance level. A passable one!

It’s a track with complete English lyrics excluding the line Jackpot Jeetna. The never before heard composers have done their job really well. Considering their debut song, It’s a wonderfully made track. It has some uniqueness and its own sound. The lyrics are ordinary though meaningful. Sunidhi is in full form. She sounded awesome with her hardcore vocals which completely suited the track. Want to be aware of new sounds and styles of music, this one is for you then.

Another title track is basically an instrumental theme track. It has amazing arrangements. The recording has been done very well. For a instrumental piece, it’s quite long. Hamsika Iyer has been credited for her backing vocals in the ending of the track. But I am unable to guess for what reason a lyricist has been credited for an instrumental track. This another new composer has made the theme track very well. Let’s see what other offers he will be getting. If you love to listen techno sounds without vocals, go for it!

Now that’s called a nice good rap. The concept is inherited from Jaaved Jaaferi’s character in Salaam Namastey who used to say Eggjaclty the same way he pronounced it in this track. The beats are nice and apt for rap. He sang the rap quite amazingly and comfortably. The main attraction is the lyrics which is also written by Jaaved Jaaferi. It’s a satirical song depicting the present condition of our country in a humorous satirical way. It’s a must listen track just for the lyrics.

It’s a very short track with lyrics in English. The vocals of Ramya sounded sexy. There wasn’t much scope of singing though. A nice short track to end the soundtrack. You may leave it!

Jackpot – An album which is unpurposely lengthy, at times dull and boring also. It’s not a music friendly movie. So, there wasn’t much need for putting seven songs in the soundtrack. Kabhi Jo Baadal Barse is a scorer. Bothe the title tracks are nicely composed and arranged. Eggjacly has the amazing lyrical power. Rest of the track are dull, forgettable and passable. In this album, we met many newcomer composers and lyricists. The soundtrack deserves to Sharib and Toshi for composing an intense romantic addictive melody.

Bullet Raja is directed by Tighmanshu Dhulia. Generally he doesn’t go for big famous composers but this time he has selected Sajid-Wajid as the captain of the soundtrack. After doing nothing much this year, they have got a big soundtrack. Let’s see, how they manage this one!

It’s a kind of song that you might just enjoy two times unless you are brave enough to enjoy it the third time. Sorry, not enjoy, you can only listen to it. After that, you might lose your patience and call it a crap. Seen Once in a Blue Moon, musicians Rdb have created a track that has the capacity to live less than a week. The line aaja tujhe main kara doon tamanche pe disco sounds little good music wise. The rap like Yo Yo has lyrics which are nothing but the compilation of some previous rap tracks. I would not recommend you to listen it, otherwise your Tamancha can be damaged for ever.

It seems that Sajid-Wajid always reserves their best for Shreya. After a very very long time, Sajid-Wajid have made an exceptionally beautiful composition. It starts with a Matka sound and then comes the typical Sajid-Wajid guitar making remember Tere Mast Mast Do Nain. Shreya Ghoshal rules the track. The beauty lies in the slight variation when the notes smoothly but abruptly go down in oho leke ek duje ko. The first interlude has Bengali folk music. Although there doesn’t seem to be any need of putting that, that actually makes the song more beautiful. The second interlude has Jatin-Lalit like trumpet which gives the 90s feel. This feel gets heightened when Wajid gets on the mic as his vocals sound totally similar to Kumar Sanu. Undoubtedly, the WELCOME song.

This one is pretty good. Though sounding little stale, the composition is nicely made. It has Tamboora being played in the whole song which definitely attracts the listeners. But after a certain duration the song gets repetitive and boring. The tune is like a Pritam-ish tune that is being crushed and is get stained. The lyrics are quite decent but do not appeal. It’s a one time listen track.

Don’t know whether these kind of songs run for Sajid-Wajid or they themselves run for these songs. Waiting for the day when they would stop making these kind of silly tracks. After listening to it, you would feel that Tamanche Pe Disco was really a nice track. It has all those typical mujra instruments, along with Harmonium being the leading one. The antara has bit catchy tune but it’s better if you don’t even reach there. Move Forward!

This title track only increases the silliness of the album. The beats are good having typical masala track rhythm. Wajid and Keerthi both sang pretty good. Lyrics are a big let down. Composition too is not at all appealing. The hook line Bullet Raja has some splendid trumpets in the background and that is really worth noticing.It has the ability to make you feel comfortable in the first attempt. The next won’t even come, don’t worry!

What’s that! Sataak Sataak! Starts with the same words, ends with the same. If I criticize the previous songs, slap me. This one is the worst of the worse. What the hell they have tried to make. The rhythm changes so abruptly after every two lines and it changes as if some anaadi has tried changing it. In the second interlude, electric guitar comes which plays a romantic sound. Anything can happen if the composers are the great Sajid-Wajid. At some instances, it sounds like folk song. If it really is, I would say the worst adaption of folk music ever! If you see, Sajid-Wajid anywhere, just give them two Sataak Sataak!

Bullet Raja is an album that was not expected to have good music as it is a film directed by Tighmanshu Dhulia. But since he opted for Sajid-Wajid this time, some little expectations were there. But after this soundtrack, Sajid-Wajid should never be counted in the list of big composers. If you remove Saamne Hai Savera from the soundtrack, it is nothing but a dustbin of some awful compositions.

The Final Verdict: NOT A PROBLEM

The Verdict Order: DISAGREE < NOT A PROBLEM < OKAY < POSSIBLE < AGREE

Next: Singh Saab The Great

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It’s now more than a decade when Hum Dil De Chuke Sanam had released. It had a Rajasthani essence to the soundtrack composed by Ismail Darbaar. The songs were super hit and even today whenever they are played, we get lost in that era. After some immortal semi-classical melodies that Ismail Darbaar gave, Sanjay Leela Bhansali moved to Monty Sharma for Black and Saawaraiya and again the result was outstanding. But it was in 2010 when Hritik-Aishwarya starer Gizaarish came that Sanjay Leela Bhansali himself took the responsibility for Music Direction and he produced a nice soundtrack. He is again here as a music director in his latest Ramleela. Though he has composed nicely in Guzaarish and the track of Ramleela are also being noticed, did you miss the music of Monty Sharma in Guzaarish or do you miss the music of Ismail Drabaar in Rameela. Do You??

Starting with a simple synthesizer, this track is an intense sad melody which is a semi classical one. It has a slight inclination to Pratdeep Raag. Though the string and percussion in the first half of the song is typically Indian, the second half is laden with jazzing sound. Aditi Paul, the Indian Idol Season One contestant, (Top Six) sang effortlessly and truly showed her immense dedication and practice these years in her singing. Shail Hada has rendered amazing backing vocals that beautifies the song. This song is a must listen!

A typical SLB film song. A typical Ismail Darbaar song. A typical Shreya Ghoshal song. Whatever you call, all are apt for this track. Though Ismai Darbaar has nothing to do with this, but almost all the music lovers would try connecting it with Silsila Ye Chaahat Ka from Devdas. The same sound of pain for love in both the tracks. Though in older one, the pain sounds more serious and intense. Shreya totally rules this semi-classical melody dealing with the incredible ups and downs in the composition. It starts with a painful alaap and the flute has been played gently with the so called hook line. The first and the only interlude has Been and after it, Esraj and Sarangi.The percussion instruments used here are noticeable. Instruments like Tabla, Ghatam / Matka, and Mridangam are beautifully arranged and sounded.

The sexy sound of Flute is the intro of the song. Aditya Narayan after a very long time has done playback. The use of Flute with beats is a nice attempt. The techno beats and the sound of a toy gun is great. Blending Sarangi with Dhol surrounded by the techno beats is quite creative and applauding. Aditya whose voice sounds partially Shaan’s and partially Udit Narayan’s has done a nice attempt. His romantic giddy voice gives a naughty sound that really goes well with the song.

It starts with some devotional sounds like bell in a temple and very smoothly turns into a romantic track. With Arijit’s beautifully rendered alaap, this track comes into its full form and creates magic among the listeners. As Arijit takes the alaap, Mridangam has been played enormously and supports him throughout. The composition is a semi-classical rendition based on raag Yaman (Kalyani). The first interlude is piano driven whereas the second one is supported by Shehnaai. The tune of both the antara is totally different. The first ends on the hook line, the second ends in the starting part of mukhda. Tabla in both the antara us played very well. Although Tabla is generally the main instrument in these kind of songs, Bhansali has used Mridangam in a more efficient way and had made it more powerful and improtant. The song also ends in the same way it started with the sounds of temple. Sanjay Leela Bhansali has totally impressed his listeners here. The lyrics are very well written. I should definitely mention this beautifully written line Tujh Sang Bair Lagaya Aisa, Raha Na Main Phir Apne Jaisa. The deep emotions are filled in it. It is Arijit’s best performance undoubtedly. The Lukka Chhupi kind of Guitar in the Tera Naam Ishq doesn’t sound necessary though it doesn’t affect much either. A lovable, memorable immortal melody! The WELCOME song.

5. Lahu Munh Lag Gaya – Singer: Shail Hada

Bhansali’s pet singer Shail Hada presents a solo number here which has a brilliant movable rhythm. The beats are really good and inclined to Garba form. Sarangi and Been are the prime instruments used. The typical Rajasthani sound has been created by having intelligent arrangements. Shail Hada’s vocals suit very well to the song. Lyrics does not have any prominent role here. The chorus part is done wonderfully. A track with a very short life.

6. Man Mor bani Thangat Kare – Singers: Aditi Paul, Osman Mir

This is a very very well presented song which starts with awesome echo effects and with a supportive Manjeera. It’s a traditional Gujarati folk based track. The lyrics is in pure Gujarati. The vocals of Osman Mir sounded purely traditional and Aditi sang perfectly. The perfect use of Veena has been done in the second interlude. It starts from there and supports the whole antara followed by the interlude. The percussion sound has been kept low to feel the folk-ish atmosphere. Not a song of mass but of class! A must listen for Gujaratis.!

7. Nagada Sang Dhol Baaje – Singers: Shreya Ghoshal, Osman Mir

It is something from which many composers can learn about the presentation of a dance track. It starts in a traditional way with a Shankh. The Been follows faithfully. Shreya Ghoshal enters lavishly with Nagada all around. Bhansali has set an enormously beautiful atmosphere with amazing arrangements and powerful setup of coordination of different instruments. Yes, it sounds a lot similar to the memorable Dhol Baaje of Hum Dil De Chuke Sanam. I would even call it a recreation of that track. But just listen to that once and you would feel that besides recreating, he has done a lot of hard work with this one. The composition of antara is fabulous. Much stronger than that of mukhda. Shreya sounds awesome in antara but has a little tiresome attitude after the end of second antara and didn’t sound fresh. It ends in the similar manner as Dhol Baaje ends, though the ending of the older one was more effective. It’s a perfect Garba track which is quite enjoyable too apart from being traditional.

8. Poore Chand – Singer: Shail Hada

Listening to the vocals of Shail Hada here would make you remember of Yun shabnami from Saawariya. The rhythm and the arrangements are highly similar to Jab Se Tere Naina. That rhythm is so good that it sounds awesome in this track too. Shail Hada didn’t sound much impressive here as compared to Yun Shabnami. But again the presentation has been so well done that these faults seem to be quite minor. The best part is when he is unable to complete the line Poore Chand ki ye… and the Shehnaai with brilliant rhythm starts. It happens in the whole track and that’s the only beauty of this track. Do listen it for this beauty. The beautiful tune which Shehnaai says, would definitely make everyone smile.

9. Ram Chahe Leela – Singer: Bhoomi Trivedi

Another Indian Idol contestant in the same soundtrack, this time Bhoomi Trivedi, the top three finalist of season five. It starts with some dialogues as if some orchestra function is going on. It has been given a rock feel but it failed to impress. The tune fells flat and so is the lyrics. A satirical humor has been tried but it leaves no imapact on the listener. Bhoomi who used to sing soft songs in Indian Idol didn’t impress at all. Her vocals sound straight and boring. Sadly, her first song didn’t live up to the expectation.

10. Tattad Tattad – Singer: Aditya Narayan

Coincidentally, both the disappointing tracks have been given to Aditya Narayan. Though I personally liked this one. Not the whole song but just the Tattad Tattad part. That part is so so so aptly supported by flute that it you would just wonder how it would have been created. Because of that flute, this hard hitting word sounds cute. Variety of instruments are used. Guitar, Harmonium, Dhol, Mridangam along with Flute being the prime instrument and all of them are rightly placed and arranged. The tune was below average abut again the presentation did the work!

Ramleela is a typical SLB soundtrack. It has a high inspiration of Gujarati folk music. Laal Ishq and Dhoop are undoubtedly the best of the soundtrack. Nagada Sang Dhol, Poore Chand and Ang Laga De also leave a great impression. Rest of the tracks have lack of good tune. The tune is flat and dull. But this whole album has been presented very well. The presentation and decoration of each song make each of them a must listen. Neither it brought the immortality of Ismail Darbar’s tunes nor it created the vibe of Monty Sharma’s music but when compared to SLB’s music, it’s a much better soundtrack than Guzaarish.